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Free Update: Toolbag 3.04

We’re thrilled to announce the release of Marmoset Toolbag 3.04, a free update for all Toolbag 3 users. 3.04 brings a number of exciting new features and enhancements to both Toolbag and Viewer. New baker outputs and workflow improvements, animation support for Viewer, and improved shadows headline the release.

Download the installer from the Toolbag 3 product page, or by launching Toolbag 3 and clicking on the auto-update prompt. See the full change log on the Toolbag History section.

Baker Updates

Interface and Workflow Improvements

New Baker Interface

The baker UI has been updated with a focus on functionality. We’ve added a map configurator to customize which maps types are active. You can define the default maps (and their settings), as well as save and load presets for different projects. We’ve also added a master tangent space setting, a custom pixel padding size option and user definable map suffixes.

New Map Outputs



Toolbag 3.04 bakes all the maps, so you can do all the things! Here’s a list of the new map types:

  • Thickness
  • Concavity
  • Convexity
  • Bent Normals
  • Bent Normals (Object)
  • Complete Lighting
  • Diffuse Lighting
  • Specular Lighting
  • Albedo (Metalness)
  • Metalness
  • Roughness
  • UV ID
  • Group ID
  • Object ID
  • Wireframe
  • Alpha
  • Emissive
  • Transparency

Texture Set Support

Texture Set Support

Featured art by Charles Metze III.

Multiple texture/material sets are now supported. You can easily bake assets with more than one UV layout in a single Baker object. For instance, a character with a texture set for the body and clothes or a gun with additional sets for the attachments.

Texture sets work by reading the materials assigned to the low poly mesh(es). For each unique material, a new set of images will be baked. Resolution can be controlled per set as well.

Image Quality Improvements

A dithering option has been added for the Ambient Occlusion output, which reduces banding by a considerable amount. AO bakes look better with fewer rays now, which means faster bakes with similar or better quality in most cases when dithering is enabled.


Curvature maps have been updated with a new Normalize setting (which is enabled by default). The Normalize setting maximizes the value range, which makes curvature maps work better with applications such as Substance Painter.

Bake Normal Mapped Material from High to Low
Normal map detail from the high poly material now transfers to the baked normal map output. This can be useful if you’ve added additional high frequency detail to your high poly material or if you’re baking from one low poly mesh to another.


Shiny New Viewer Features


Viewer has received a facelift, sporting a host of new features. Headlining the additions is animation support. Now you can bring your artwork to life with the magic of motion. We’ve also added support for refractive materials, shadowed fog, and the shadow catcher object. Rounding out the update are reduced file sizes, high DPI support, and a high-resolution thumbnail option.

Stand Alone Viewer Application

Viewer Stand Alone Application

Featured art by Baj Singh.

In addition to the new features, we’ve developed an application for viewing .mview files. Now reviewing local content is much easier for you and your client. Simply double click an .mview file to launch the stand alone viewer. The new Viewer app is included with the Toolbag 3.04 installer, and can be downloaded independently as well and works on Mac and Windows.


Improved Shadows

Volumetric Fog

Add atmosphere to your scene with our updated fog effect. Direct lights now cast shadows through fog, creating a volumetric effect that adds depth and realism to your renders.

Cascaded Shadow Maps


Directional lights now have the option to use Cascaded Shadow Maps, which prioritize shadow detail for areas near to the camera. CSM is especially useful for environments and larger scenes.

Ludicrous Shadow Resolution

Ludicrous Shadow Resolution

If you’re looking for less pixelation, a new extra-high resolution shadow option can be found in the render settings. This setting can reduce performance significantly, so it’s best used in relatively simple scenes or by those who have high-end GPUs.

Better Shadow Quality

Reduced Shadow Acne

Shadow acne artifacts have been significantly reduced, and shadow coverage is improved as well.


Optimized Animations

Featured art by Peter Vechkasov.

Along with animation support in Viewer, we’ve improved and optimized the animation system. Animated meshes are now stored directly in the .tbscene file and animation performance is significantly improved in some cases. We’ve added support for the 2018 version of the FBX format as well, which means better compatibility with the latest 3D apps.


Speedy Viewport Mode

Featured art by Juan Manuel Cervilla and Natalia P. Gutiérrez.

We’ve added a new mode to the viewport which temporarily disables advanced rendering features to make navigating in Toolbag easier. Say goodbye to juggling render settings while you work, simply click the rocket ship icon to blast your frame rate to the moon! Speedy mode doesn’t affect the render settings for captured images, which means you can enable it for maximum responsiveness while rendering out high quality images with GPU hungry effects like Global Illumination, Local Reflections and Depth Of Field.


Image Quality Improvements

Smooth Depth of Field Transitions


We’ve updated the DOF effect. Now the transition from in to out of focus is smooth. The DOF shown in the viewport matches the rendered DOF much more accurately now as well, which means no more trial and error to get your DOF looking right. The new DOF can look slightly different in existing scenes, so you may need to adjust your settings.

Beautiful Bloom

Featured art by Jose Lázaro.

The bloom effect has gotten some love as well. We’ve improved the quality greatly when using size values over 0.05.


Try Today

Artwork by Blair Armitage

Featured art by Blair Armitage.

Give the latest and greatest version of Toolbag a spin by downloading the free 30-day trial. If you’ve previously had a trial but it ran out, good news! We’ve reset all trials, so download the installer and give it a go.

Artist Feature | Satoshi Arakawa

Interview conducted by Mira Karouta

We sat down (virtually speaking!) with industry veteran Satoshi Arakawa to discuss his career as a Character Artist in the games industry and experience using Marmoset Toolbag throughout the years.

Could you give us a brief look into how you came to be a character artist?

I actually started my career as an environment artist. I worked for about 2 years in this role on a hand-painted MMO. While I enjoyed it, I really wanted to do something different. I hit a harsh industry reality when the art style was reset and all the environment art I had built over a year was pretty much thrown out. It was at this time that one of the character artists asked me if I wanted to try characters. The timing was perfect and the transition was pretty smooth. I haven’t looked back since!

What’s your favorite and least favorite parts of creating characters?

There really isn’t a part of character creation that I don’t like. The retopology and UV creation is probably the least creative step in the process and therefore not quite as enjoyable. Still, I take pride in applying what I’ve learned to do these steps more efficiently with every character I make. The most enjoyable parts would have to be the high resolution sculpting and the texturing/materials phase. From simple shapes to fine detail, sculpting is incredibly fun and it’s hard to break away from and move on. Texturing and materials is where you get to really see your character start coming to life! This is also where I start using Toolbag heavily in my pipeline.

When did you start using Toolbag?

I started using Toolbag almost immediately when it first released. The first few normal mapped characters I ever did in my career were rendered in Marmoset Toolbag 1. I think this was back in 2009-2010.

 

How has your work and your use of Toolbag evolved over the years?

I think early on, I would use it mainly to render characters once they were completed at work or in my personal time but it wasn’t really in my pipeline. It felt like a tool to use at the very end to make my characters look better with lighting, etc. And I never used it at work. Now, with the upgrades to PBR and the integration to Substance and how easy both can be used together, it is pretty much a staple in my process both at home and at work. I use it to test my assets in multiple lighting scenarios, different material setups, etc. Now that I can bake all my base textures in TB3, it has also replaced the baking software I used for almost a decade.

How do you use Toolbag in the studio versus using it in your personal work?

My process for using TB3 is mostly the same at work and at home. Once I get to baking, I do all of that in TB3. Texturing is a mix of Substance Painter and TB3 to view my assets. I suppose the main difference is the rendering. At work, once I finish texturing, I have to put my asset into my game engine and tweak textures to adjust for a different lighting model. At home, i just stick with TB3 and set up all my lights and do all my rendering right there. With all the extra features like AO, subsurface scatter, refraction, anisotropic, high resolution shadows, and GI, you can make your characters look so much more high fidelity then in the past.

What’s your favorite feature in Toolbag 3?

I think my favorite feature has to be the subsurface scatter shader. I use it on pretty much every non metal/non hard-surface material. It has the perfect blend of features to make my materials feel more realistic. The way it has evolved has only made it stronger with every Toolbag update. I really enjoy using it in various ways and testing its limits and capabilities and seeing how it can be used to give me further variation in my materials.

What are you looking forward to seeing from future versions of Toolbag?

I honestly can’t ask for a lot more out of Marmoset for the type of work I use it for. I would love to see features like refraction, subsurface scatter, and shadows continue to improve. I use Marmoset in conjunction with Substance Painter so integrating the two further would be fantastic. The baker is now a key step in my pipeline so any future additions to that will also be greatly appreciated.

What is one piece of advice you would give for up and coming character artists?

I would say focus on making great art one piece at a time and start small. I think a lot of young artists feel the pressure of wanting to have amazing art in their portfolios right away and they strive for too much, too fast. The key is to build towards the next project and to get better/faster each time. Start with something manageable for your current skill base but make it look amazing. If it’s just a barrel, make it the best damn barrel out there!

Check out more of Satoshi’s work on Artstation and learn more about how you can create stellar renders using Toolbag 3.

Toolbag Artist Highlight | Ep. 181

Enjoy a new set of real-time artwork rendered in Toolbag.

  1. Georgian Avasilcutei crafted a sublime render of his character, Vi.
  2. Jaco Herbst forged a fantastic football girl.
  3. Vlad Costin created a creepy post apocalyptic style rat for Warhammer Total War.
  4. Victor-Emmanuel Pancrazi developed a stylized character based on a concept by Max Kostenko.

Thanks for checking out the latest featured artwork rendered in Toolbag. Stay tuned for more next week.

Toolbag Artist Highlight | Ep. 169

Cure your Monday blues with an excellent array of Toolbag renders.

  1. Dmitriy Sizov crafted a haunting character with incredible attention to detail.
  2. Rory McMahon modeled and textured Risa Ito for the game PWND.
  3. Lance Wilkinson created an adorable Corgi Traveller based on a concept by Lynn Chen.
  4. Alexander Cherevichenko constructed a fantastic vehicle for a tactical strategy game.

Thanks for checking out the latest featured artwork rendered in Toolbag. Stay tuned for more next week.